A Yoshimi Cookbook

October 30, 2020

Contents

1 Introduction 3 1.1 Project Structure...... 3 1.2 XML File Compression...... 3 1.3 What Game Shall We Play Today?...... 3

2 Concepts 4 2.1 Concepts / Terms...... 4 2.1.1 Concepts / Terms / cent...... 4 2.1.2 Concepts / Terms / ring modulation...... 5

3 Installing Cookbook Resources5 3.1 Resources / Paths...... 5

4 Fun With Presets 5 4.1 Presets / Paths...... 5 4.2 Presets / Pick a Patch...... 6 4.3 Presets / Pick a Bank...... 8

5 Creating Instruments 8 5.1 Bells...... 9 5.1.1 Bells by Voices...... 9 5.1.2 Ring Modulation with 440 Hz Tone...... 11 5.1.3 Complex Bells by Ring Modulation...... 12 5.2 Ethnic...... 13 5.2.1 Ethnic / Steel Drums...... 13 5.3 Drums...... 14 5.4 Chromatic Percussion...... 17 5.5 Eﬀects...... 19 5.5.1 Eﬀects / Dial Tones...... 19 5.6 Piano...... 21 5.7 Leads...... 21 5.8 Guitar...... 21 5.8.1 Guitar / 12-String...... 21 5.9 Strings...... 22 5.10 Bass...... 22

1 Yoshimi Software Synthesizer Cookbook

5.11 Saxophones...... 22

6 Banks and General MIDI 22 6.1 Creating a Basic GM Bank...... 23 6.2 Root Paths...... 26 6.3 Using a Basic GM Bank...... 28

7 Converting Tunes for Yoshimi Playback 29 7.1 Tune / ”Before You Accuse Me”...... 29

8 Usage Notes 31 8.1 Notes / Instrument Design...... 32

9 Sequencers 32 9.1 Sequencers / Sequencer64...... 32 9.1.1 Sequencers / Sequencer64 / ALSA...... 33 9.1.2 Sequencers / Sequencer64 / JACK...... 34 9.1.3 Sequencers / Sequencer64 / ”Out There”...... 36 9.1.3.1 Initial Installation...... 36 9.1.3.2 Start from Scratch...... 36 9.1.3.3 Load Example XMZ File...... 37 9.1.3.4 Playing Out There...... 37 9.1.4 Sequencers / Sequencer64 / Adapting a Tune...... 38 9.1.5 Sequencers / Sequencer64 / Basic Composing...... 38

10 Summary 38

11 References 38

List of Figures

1 Navigating to a Preset...... 6 2 The Penvamplitude Preset...... 8 3 Typical Steel Drum Spectrum...... 13 4 Steel Drum SUBsynth Conﬁguration...... 14 5 Natural Drum Kit from DS 2...... 15 6 Natural Drum Kit Keyboard Layout...... 16 7 General MIDI Drum Kit Keyboard Layout...... 17 8 Copy to Clipboard Preset...... 18 9 Kit Edit Dialog for DTMF Kit...... 20 10 DTMF Layout on the Keyboard...... 21 11 Bank Root Paths...... 27 12 Two Banks, Demo and Basic GM...... 27 13 A General MIDI Basic Bank...... 28 14 Yoshimi Audio Connection, JACK...... 35 15 Yoshimi MIDI Connection, JACK...... 36

2 Yoshimi Software Synthesizer Cookbook

List of Tables

1 Simple Bell Tones...... 9 2 Ring Modulation Bell Tones...... 12 3 DTMF Frequencies Table...... 19 4 GM Basic Files...... 23

1 Introduction

This document is a follow-on to the author’s ”A Yoshimi User Manual” [15]. The user manual attempts complete coverage of the user-interface and concepts behind Yoshimi. This cookbook attempts to provide recipes to solve some common problems in getting Yoshimi to perform at its best for the user.

1.1 Project Structure

The ”Yoshimi Cookbook” project consists of two parts:

The source material for this document. A self contained ”yoshimi” conﬁguration and data section to support the examples in this cookbook.

The documentation source-files are provided in the tex directory. They are use to create the cookbook via Makefiles and the external ”latexmk” project. The result of a ”make” is a new PDF of the cookbook in the pdf directory. The latest PDF is always provided there so that one does not have to install the external projects needed to create it. The configuration, banks, presets, and instrument files can be used to supplement or replaces the user’s own configuration and data files.

1.2 XML File Compression

One thing we recommend for following this cookbook is to set the Yoshimi compression level to 0. This makes it a lot easier to text-edit the file to read its contents and understand them. To make this setting: 1. Navigate to Menu / Yoshimi / Settings.../ Main settings. 2. Click on the left arrow of XML compression level until the value of 0 appears. 3. Click on the Save and Close button. 4. Restart Yoshimi, then navigate again to this dialog to verify that the setting has been saved. Setting this option makes the XML files a bit larger, perhaps larger by a factor of more than 10, making a 10K file into a 180K file. But these days, that should not be a problem. Maybe if one is running Yoshimi on an old Raspberry Pi device. On the other hand, for normal usage, it is best to leave the compression setting at 3, since decompression is faster than reading larger amounts of data from a file.

1.3 What Game Shall We Play Today?

There are a number of recipes that are hinted at in the user manual, but that solve problems that the author has encountered while using Yoshimi.

3 Yoshimi Software Synthesizer

Banks and MIDI. Yoshimi has had recent modifications to support bank-switching and using program-change messages to make Yoshimi a more flexible MIDI playback tool. General MIDI. It should be possible to set up one or more banks that are General MIDI compliant. Usage of Modulators. Yoshimi provides a number of modulation setups, but it isn’t clear how to use them, especially the ring modulator. Creation of Special Instruments. There are some instruments that don’t seem to have decent ZynAddSubFX/Yoshimi instrument files. Some examples, based on our desires: sitar, koto, bagpipes, steel drums, telephone tones, middle-eastern pipes, Japanese instruments, that steel-whip percussion sound heard in many songs.... More!.

This document explains how to do some of the above tasks.

2 Concepts

This section, like its counterpart in our Yoshimi User Manual, presents some useful concepts, while keeping them out of the way.

2.1 Concepts / Terms

This section doesn’t provide comprehensive coverage of terms. It covers mainly terms that puzzled the author at ﬁrst or that are necessary to understand the recipes.

2.1.1 Concepts / Terms / cent

The cent is a logarithmic unit of measure used for musical intervals. Twelve-tone equal temperament divides the octave into 12 semitones of 100 cents each. Typically, cents are used to measure extremely small finite intervals, or to compare the sizes of comparable intervals in different tuning systems. The interval of one cent is much too small to be heard between successive notes. Since the detuning provided in Yoshimi is based primarily on cents (and octaves), it pays to understand cents. If a given frequency f’ is offset from another frequency f, the relationships between them in semitones (s) are:

f 0 = f ∗ 2s/12

s = 12log(f 0/f)/log2

Note that the log operator is the base-10 log. In cents, these relationships become:

f 0 = f ∗ 2s/1200

c = 1200log(f 0/f)/log2 where c is cents. These relationships hold whether f’ is less than or greater than f. They provide an easy way to determine how much to detune a frequency in Yoshimi.

4 Yoshimi Software Synthesizer

2.1.2 Concepts / Terms / ring modulation

Ring modulation is the multiplication (heterodyning) of two signals, and is named for the ring-like circuit that can produce it. When two tones, f1 and f2, with f1

3 Installing Cookbook Resources

This section explains how to set up the Yoshimi Cookbook files into one’s ”home” directory so that they are easily accessible and easily modifiable. First, let’s get the files copied to the home directory. Currently, the Yoshimi Cookbook resources are not installable. One simply unpacks this project, or git-clones it to the desired directory. Let’s call it yoshimi-cookbook. This name represents where one has cloned the project.

cd .../yoshimi-cookbook cd .. cp -r yoshimi-cookbook ~/.config

These commands end up ”installing” the cookbook resources to ~/.config/yoshimi-cookbook.

3.1 Resources / Paths

How do we copy the yoshimi-cookbook stuﬀ to our ”home” directory? Menu / Paths / Bank Root Dirs Push the button Add root directory.... Select: /home/username/.config/yoshimi-cookbook/banks

4 Fun With Presets

This section expands on its counterpart in the Yoshimi User Manual, showing how presets can be employed to re-use blocks of settings. In this short tutorial, we will grab and save a number of presets, and then use them to partly reconstitute the sound.

4.1 Presets / Paths

First, one needs to make sure to have one’s ~/.config/yoshimi/presets directory in the set of preset directories. Navigate to the Menu / Paths / Preset Dirs... menu entry and see if it is there. Add it if necessary. Second, make sure that there are some root directories available. Navigate to the Menu / Paths / Bank Root Dirs... menu entry and make sure at least the ﬁrst of these directories are present:

5 Yoshimi Software Synthesizer 4.2 Presets / Pick a Patch

/usr/share/yoshimi/banks /usr/share/zynaddsubfx/banks

Replace /usr with /usr/local if Yoshimi was built from source code. Also note that the second directory will not be present if ZynAddSubFX is not installed.

4.2 Presets / Pick a Patch

Now navigate to Main window / Patch Sets / Show Patch Banks.... Pick (left-click) item 60. Pads (it might be associated with a diﬀerent number in one’s own installation of Yoshimi). In the Pads bank window that opens, pick 8. Resonance Pad1. This instrument will now be active in the main window for the current Part. In the main window, click the Edit button to the right of the part name. In the Instrument Edit dialog that comes up, click the Edit button for the desired part of the instrument (e.g. ADDsynth). The following ﬁgure shows a set of windows that could be open in a Yoshimi instrument-editing session:

Figure 1: Navigating to a Preset

6 Yoshimi Software Synthesizer 4.2 Presets / Pick a Patch

Take a moment to note each of the windows that are open now. Play the virtual keyboard for awhile, until the sound of this patch/instrument is memorized (we want to reconstruct this sound later). Now let’s save some of the instrument’s presets. Click the Yoshimi main window’s Edit button. Oddly, this Pad instrument uses only the ADDsynth engine. Press the ADDsynth item’s Edit button. Up comes the complex, multi-panelled window for the ADDsynth setup. Note the blue C and P buttons in each of the following sub-panels:

Amplitude Env Amplitude LFO Filter Params Filter Env Filter LFO Frequency Env Frequency LFO The whole ADDsynth Window

Let’s save them all! Click on each C button, then fill in the Copy to Preset text field with the name ”demo”, and then press the Copy to Preset button. All of the file-names that result will start with demo. Then click on the Show Voice Parameters button, then click on the C button to save the one enabled sub-panel for that instrument’s voice, Frequency LFO. Note that the demo is already saved in this preset of type Plfofrequency. So, if we want to save this, we’d use a name other than demo. Click Cancel. Now click on the C button for the whole ADDsynth voice window. Go ahead and do Copy to Preset named ”demo”. Now look in ~/.config/yoshimi/presets”, and see all the saved files:

$ ls ~/.config/yoshimi/presets demo.ADnoteParametersn.xpz (whole ADDsynth preset?) demo.ADnoteParameters.xpz (whole ADDsynth Voice preset?) demo.Penvamplitude.xpz demo.Penvfilter.xpz demo.Penvfrequency.xpz demo.Pfilter.xpz demo.Plfoamplitude.xpz demo.Plfofilter.xpz demo.Plfofrequency.xpz

Two of them are confounded with the same type, but slightly diﬀerent ﬁle-names. How? Now all of these presets are available for loading. Let’s use them to take a basic sine wave, and build up its settings until we have something approximating the 8. Resonance Pad1 sound. Let’s try to reconstruct the sound. Load the Yoshimi Simple Sound. This sound can also be obtained via the Instruments / Clear command. Listen to Simple Sound via the virtual keyboard, and note how pure and tone-like it is. Then click the main window Edit button, then the ADDsynth Edit button. Now load all of the presets

7 Yoshimi Software Synthesizer 4.3 Presets / Pick a Bank above by clicking on each P button and then selecting the demo entry, as shown in the screen-shot (which shows the Penvamplitude preset).

Figure 2: The Penvamplitude Preset

Then click the Paste from Preset button. After all this is done, the Resonance Pad1 sound should be pretty much recovered. Pasting the ADDsynth overall preset seems to have the most eﬀect. One must play a lot with the presets to fully understand how they work. In summary, the presets are essentially keyed to the sub-panels. In naming them, you need to use a name that represents the sound that the preset contributes, via the settings in its sub-panels.

4.3 Presets / Pick a Bank

Now let’s see if we can save an entire bank as a preset. How do we copy the yoshimi-cookbook stuﬀ to our ”home” directory? Menu / Paths / Bank Root Dirs Push the button Add root directory.... Select: /home/username/.config/yoshimi-cookbook/banks

5 Creating Instruments

One of our goals in using Yoshimi is to support General MIDI (GM) to the greatest extent possible. However, no banks have been created with GM in mind. And many of the instruments, though given names that indicate what they are intended to be, fall well short of being recognizable per their name;

8 Yoshimi Software Synthesizer 5.1 Bells they should be doable with a complex synthesizer like Yoshimi, but perhaps have not been done yet, or we have not found them. It is true that there are a vast number of Yoshimi and ZynAddSubFX patches/parts/instruments out there. The author had attempted a survey of them, and the task was all but impossible, since there are so many of them. Still, many candidates have been identiﬁed. Other candidates might be suitable with a little tweaking. Here are a number of categories of instruments for which we want to assemble an improved set of instruments: 1. Bells 2. Ethnic 3. Drums 4. Eﬀects 5. Piano 6. Leads 7. Guitar 8. Strings (individual and ensemble) 9. Bass 10. Saxophones These recipes will be found in this cookbook project; the banks directories are found in the following directories:

yoshimi/banks yoshimi/banks/demo

5.1 Bells

The bells patches we’ve heard so far are nice, but a bit anemic. Good bell patches are easier with ring modulation, done right. We’re not sure if there are any such patches extant; please send them to us if have some in hand. In the meantime, creating bells is a good excuse to master Yoshimi’s ring modulator. However, we will ﬁrst learn how to create a reasonable, clangy bell using just a few voices in an ADDsynth part, and no need for modulation.

5.1.1 Bells by Voices

The following table comes from a tutorial ([2]). Along with a spectrum shown in reference [3], it allows us to recreate a simple, but realistic bell. In this table, F represents the fundamental frequency, i.e. the note being played.

Table 1: Simple Bell Tones

Wave Number Frequency Cents Oﬀset Relative Amplitude 1 0.56F -1000 0.5 2 0.92F -140 1.0 3 1.19F +300 0.5

9 Yoshimi Software Synthesizer 5.1 Bells

4 1.71F +930 0.25 5 2.00F +1200 0.125 6 2.74F +1745 0.125 7 3.00F +1901 0.125 8 3.76F +2290 0.125 9 4.00F +2400

Note that the frequencies are relative to the fundamental frequency (F). Also note that wave 2 (close to F) can be missing, and the sound still is bell-like. The ﬁle yoshimi/banks/demo/Bells-simple-addsynth.xiz is the result of following the steps below. We start, as usual, with a newly-started Yoshimi instance. 1. Open the ADDsynth editing window by clicking the Edit button in the bottom panel, and then clicking the ADDsynth Edit button in the edit window. 2. Click on the Show Voice Parameters button. Note that it is Current Voice 1, and it should be enabled. 3. For voice 1, make the following settings: 1. Octave: Set to 0. 2. Detune Type: Set to E1200cents. 3. FREQUENCY Detune: Set to -1000 approximately. 4. Go to voice 2, and make the following settings: 1. Octave: Set to 0. 2. Detune Type: Set to E1200cents. 3. FREQUENCY Detune: Set to -140 approximately. 5. Go to voice 3, and make the following settings: 1. Octave: Set to 0. 2. Detune Type: Set to E1200cents. 3. FREQUENCY Detune: Set to 300 approximately. 6. Go to voice 4, and make the following settings: 1. Octave: Set to 0. 2. Detune Type: Set to E1200cents. 3. FREQUENCY Detune: Set to 930 approximately. 7. Go to voice 5, and make the following settings: 1. Octave: Set to 1. 2. Detune Type: Set to Default. 3. FREQUENCY Detune: Set to 0. 8. Go to voice 6, and make the following settings: 1. Octave: Set to 1. 2. Detune Type: Set to E1200cents. 3. FREQUENCY Detune: Set to 545 approximately. 9. Go to voice 7, and make the following settings: 1. Octave: Set to 1. 2. Detune Type: Set to E1200cents. 3. FREQUENCY Detune: Set to 700 approximately. 10. Go to voice 8, and make the following settings: 1. Octave: Set to 1. 2. Detune Type: Set to E1200cents. 3. FREQUENCY Detune: Set to 1090 approximately.

10 Yoshimi Software Synthesizer 5.1 Bells

These settings then end up roughly matching the settings of the ﬁrst 8 waves in table 5.1.1(”Bells by Voices”) on page9. This instrument isn’t perfect. It’s not quite equally tempered, though close. The character of the tone changes a bit as the notes get higher. One can ﬁddle with the relative amplitudes of the various voices to change the character of this sound.

5.1.2 Ring Modulation with 440 Hz Tone

Now for an initial demonstration of ring modulation. This demonstration does not quite create a bell tone, but does show the sound of modulation. Start with a fresh Yoshimi and a cleared instrument (”Simple Sound”). Open the virtual keyboard using the virKbd button. Click a key and verify that you can hear a tone. We’ll use the middle C key (the ”comma” on the PC keyboard) as a reference. We will call it the ”C” note. The following steps will set up two tones, voice 1 and voice 2, and voice 2 will use voice 1 as an external modulator. Note that you can accomplish most of these steps by loading the project ﬁle yoshimi/banks/demo/Bells-440-ring-modulation.xiz, but use that only as a last resort. 1. Open the ADDsynth editing window by clicking the Edit button in the bottom panel, and then clicking the ADDsynth Edit button in the edit window. 2. In the Amplitude Env sub-panel, increase the D.dt and R.dt to give the current sound a nice slow decay. 3. Click on the Show Voice Parameters button. Note that it is Current Voice 1, and it should be enabled. 4. Switch to Current Voice number 2 and enable it. Play the ”C” note, and observe that it is the same frequency, but louder. 5. Move the FREQUENCY Detune slider a bit, and play the ”C” note. It should sound the same as before, but change slowly in amplitude, as heard and as seen on the VU meter. Try to set the detune back to 0; this is easier if you highlight the tuning knob and use the left or right arrow keys. 6. In the MODULATOR section of voice 2, for Type, select the RING value. (However, feel free to select one of the other modulators, to experiment, once you’ve mastered the ring modulator.) Press the ”C” key again, and notice that the tone character changes a bit. This is due to the internal modulator. 7. For External Mod. for voice 2, select Ext.M 1, to use the voice 1 as the internal modulator. The ”C” note may change in character, but only slightly. Apparently the default internal modulator is the same as the default external voice 1 waveform. 8. To actually hear some modulation, we have to separate the frequencies of voice 1 and voice 2. Click the 440Hz check-box in the FREQUENCY section of voice 1. Press the ”C” key and verify hearing a two-tone signal, somewhat like a phone tone. 9. Now go back to voice 2 and click the Change button to bring up the ADDsynth oscillator dialog. 10. Move the slider to maximum for harmonic 10. Press the ”C” key and verify the new sound (a bit like a car horn). Set the sliders back to 0, and ”C” will be a single tone again. 11. Change the Octave values of voice 2 in its FREQUENCY section and listen to the eﬀects. Now we need to see if we can apply modulation across instruments. Sadly, this does not seem to be possible. Increase the D.dt and R.dt values of the main Amplitude Env to give this sound the onset and decay of a bell, and it then sounds less abstract, and more like a bell. Of course, this kind of bell is even less tunable than the simple bell of the previous section.

11 Yoshimi Software Synthesizer 5.1 Bells

Another thing to try with this setup is to simply change voice 2 to use diﬀerent types of modulators besides RING. MORPH sounds basically identical to RING. PM seems to expose higher harmonics, making the sound louder and brighter. FM sounds similar to PM, but softer and smoother. PITCH is disabled. Another experiment is to disable the modulator (voice 1 here) and see how that changes the sound; all it should do is drop voice 1 from the spectrum – voice 1 will still be used as the modulator. Finally, by adding a slow decay to this sound, it becomes amazingly more bell-like.

5.1.3 Complex Bells by Ring Modulation

The next step is to make the bells more complex, by combining the methods of the previous two sections. Recall table 5.1.1(”Bells by Voices”) on page9. It shows the 9 frequencies in the simple bell spectrum, though we could deﬁne only 8 of them. How can we best add extra frequencies? We can ring-modulate the higher frequencies against one of the lower frequencies.

Table 2: Ring Modulation Bell Tones

Wave Number Frequency Mod Frequency f2-f1 f2+f1 1 0.56F —– —– —– 2 0.92F 0.56F 0.36F 1.48F 3 1.19F 0.56F 0.63F* 1.75F* 4 1.71F 0.56F 1.15F* 2.27F 5 2.00F 0.56F 1.44F 2.56F 6 2.74F 0.56F 2.18F 3.30F 7 3.00F 0.56F 2.44F 3.56F 8 3.76F 0.56F 3.20F 4.32F

The asterisk marks frequencies that are close to existing frequencies. Luckily, there are only three of them, so our modulation should add a good number of frequencies. 1. Load the file yoshimi/banks/demo/Bells-simple-addsynth.xiz to save a lot of steps. The next steps add voice 1 as a ring modulator for voices 2 through 8. 2. Open the ADDsynth editing window by clicking the Edit button in the bottom panel, and then clicking the ADDsynth Edit button in the edit window. 3. Click on the Show Voice Parameters button. Note that it is Current Voice 1, and it should be enabled. 4. Go to voice 2 and do the following steps: 1. In the MODULATOR section (greyed out), change the Type from OFF to RING. 2. Changes the External Mod. dropdown from Off to ExtMod. 1. 5. Go to voice 3 and repeat those steps. Note how all the voices below the current voice become available as modulators. We saved the result in the file yoshimi/banks/demo/Bells-ringmod-addsynth.xiz for safe-keeping. QUESTION: If one loads and instrument and tinkers with it, but do not save it, does Yoshimi save it on exit anyway?

12 Yoshimi Software Synthesizer 5.2 Ethnic

5.2 Ethnic

We found a simple steel drum instrument, but think we might do better, creating one using ADDsynth and one using PADsynth. Instruments we have not found, and would like to synthesize, are: bagpipes and arabic pipes.

5.2.1 Ethnic / Steel Drums

There is a steel-drum instrument that ships with Yoshimi: /usr/share/yoshimi/banks/The Mysterious Bank/0122-pseudo steeldrums.xiz. It is an ADDsynth module comprised of three voices: 1.A Unison-enabled voice of Size = 10 and a Frequency Spread of 44.6 cents. 2. Another voice that is exactly the same as the ﬁrst, except that it has its Amplitude Env sub-panel enabled, to add more volume and character to the instrument, it is stronger on the right, and, most importantly, an octave higher. 3. Another voice that is exactly the same as the second, except it is an octave lower than voice 0. If voice 2 and 3 are disabled, the instrument still sounds reminiscent of steel drums, so obviously the overall amplitude envelope is important. Can we do better? Well, the instrument above sounds too pristine. We should be able to add some ”dirt” to the instrument to make it sound more lively.

Figure 3: Typical Steel Drum Spectrum

Taking a cue from this figure, our steel drums extend the original by adding a couple more tones at octave intervals. Also, some slight detuning was introduced to add to the flavor. We could probably add a couple more, and carefully contour their amplitude levels to match the spectrum levels shown above. To hear the ADDsynth steel drum sound, load the file yoshimi/banks/demo/Add Pseudo Steel Drums.xiz.

13 Yoshimi Software Synthesizer 5.3 Drums

Not content with that, with our hands behind our back, we pull SUBsynth from a hat. The SUBsynth settings for a steel drum are shown in the following ﬁgure:

Figure 4: Steel Drum SUBsynth Conﬁguration

Note the top box of slider controls. It sets the amplitudes of the harmonics, and should vaguely resemble the spectrum diagram. The lower box of slider controls sets the bandwidth of each harmonic, with the fundamental frequency being very narrow. To hear the SUBsynth steel drum sound, load the ﬁle yoshimi/banks/demo/Sub Pseudo Steel Drums.xiz. It’s pretty nasty. However, the best steel drum patch we’ve encountered so far is the banks/olivers-100/0029-Steel Drums.xiz from the installed banks of ZynAddSubFx, and that’s the one we now copy to our cookbook project’s yoshimi/banks/gm-basic/0115-Steel Drums.xiz GM slot.

5.3 Drums

We want a decent drum kit that attempts to ﬁll in the gaps for a GM-compliant drum kit with solid sounds, with the help of an existing kit. It turns out that a ”Natural Drum Kit”, which we’d found separately on the Internet (from Dario Straulino) a long time ago, is now part of the instruments installed with Yoshimi. But long ago we used some of the sounds from various kits to create our own ”natural drum kit”, and extended some of the sounds across more (pitched) keys so that any MIDI drum note would produce some sound. We also made sure the sounds were laid out in GM format as much as possible. Fire up Yoshimi and load the instrument stored in yoshimi/banks/demo/Natural Drum Kit Basic.xiz, and we’ll walk through it. Click the Edit button in the bottom panel, and then click the Kit Edit

14 Yoshimi Software Synthesizer 5.3 Drums button.

Figure 5: Natural Drum Kit from DS 2

Item 1 is the master control for the whole kit, determining the range of keys that it covers and the effect (if any) it goes through. Item 2 and Item 3 provide the two parts of the ”natural” snare drum. Both parts are composed of an ADDsynth and a SUBsynth section, and they provide 3 pitches of snare. One distinguishing feature of the ”Snare - Stick + Snares” item is it’s only ADDsynth voice. Clickthe ADDsynth Edit button for item 2 in the kit editor. Then Click on the Show Voice Parameters button. Note that the Amplitude Env sub-panel is enabled, and uses a Freemode envelope. The voice is locked on 440Hz, but detuned to be a lot lower than that. The Voice Oscillator (click on the Change button) uses a Base F. (function) set to Power to generate a spike pulse. There doesn’t seem to be a way to temporarily mute an item, so we cannot hear what this item would sound like on its own. The SUBsynth part of the ”Snare - Stick + Snares” item provide an Amplitude Env, Bandwidth Envelope, and a rich set of alternate harmonics of very narrow bandwidth. The ”Snare-Head+Resonance” item’s ADDsynth settings provide Freemode Amplitude Env and Fre- quency Envelope settings with the voice locked on 440Hz, but detuned to be a lot lower than that. The Voice Oscillator is a sine wave. Voice 2 is set to NOISE, but is disabled. Something to try out? Indeed, we changed voice 2 to a sine wave, moved it up an octave, and now the the Snare keys have slightly different qualities, a barely noticeable pitch. A keeper! The ”Snare-Head+Resonance” item’s SUBsynth settings are a set of harmonics with a Bandwidth Env. Item 4 is the ”HiHat closed 2” instrument, a SUBsynth-only item. It provides an Amplitude Env, a Bandwidth Env, and a Frequency Env centered around 440 Hz, offset downward 2 octaves. A number of harmonics are provided, obviously taken from some spectral diagram of a cymbal. Item 5 is the ”HiHat closed long 1” instrument, a SUBsynth-only item. It is the same as the ”HiHat closed 2” instrument, but with a longer amplitude envelope.

15 Yoshimi Software Synthesizer 5.3 Drums

Item 6 is the ”HiHat open 1” instrument, a SUBsynth-only item. Much like the other hi-hats, but with a Freemode Bandwidth Envelope. Item 7 provides the ”Crash Cymbal 3” item. It is composed of an ADDsynth and a SUBsynth section. The ADDsynth provides a Voice Oscillator that, like Item1, uses a Base F. (function) set to Power to generate a spike pulse. The SUBsynth section is similar to that of the ”Snare-Head+Resonance” (Item 3), a set of harmonics with a Bandwidth Env. Item 8 is the ”Side Stick” instrument, an ADDsynth-only item. It’s only voice, voice 1, is filtered white noise. One can increase the Q value of the filter to make it a bit metallic. One can lower the C.freq value to make it sound like a bigger stick. Item 9 is the ”Tom”. It is just a tone with an AR frequency envelope. The puzzling thing is that it is locked to 440 Hz plus 2 octaves, but it can run the full length of keys 50 to 81 (so we can get ”Extra toms”) and gradually rise in pitch. How? Unlocking voice 1 seems to change nothing! Item 10 is ”Bass Drum 2”, a SUBsynth patch. Like the SUBsynth part of the ”Snare - Stick + Snares” item, it provides a Freemode Amplitude Env and Bandwidth Envelope, but only a small set of low harmonics, and a -3 Octave offset, one octave lower than the snare. Item 11 is ”Acoustic Bass Drum”. It merely adds some more harmonics to the ”Bass Drum 2” patch. Item 12 is the ”Low Floor Tom”, an ADDsynth patch. Voice 1, like Item 9, is a pitched tone with a frequency envelope. Voice 2 is added to provide a noisy component. Item 13 through 16 are also noisy toms. At some point, we’ll try to use the XML files to determine how their pitches are determined. To difficult to compare the two GUIs without taking screen shots. Okay, so this drum kit is a little tom-heavy! Now, without defining more than one drum kit, we have only about 15 ”drums” available to us in Yoshimi. So we filled in the missing drums with more ”toms”, just so some sound will be made. The frequencies of the upper toms get pretty crazy! Here’s a diagram of the keyboard layout. Correlate it with figure5 (”Natural Drum Kit from DS 2”) on page 15, to understand the abbreviations.

Figure 6: Natural Drum Kit Keyboard Layout

For your reference, here is the full GM drum layout. The diagram is taken from WikiMedia.org.

16 Yoshimi Software Synthesizer 5.4 Chromatic Percussion

Figure 7: General MIDI Drum Kit Keyboard Layout

5.4 Chromatic Percussion

One of the big blanks in the gm-basic sound set are the various stand-alone percussion instruments: woodblock, taiko drum, melodic tom, synth drum, and reverse cymbal. These occupy GM slots 116 through 120. One easy way to obtain these instruments is to ﬁnd them in an existing drum kit, and extract each into

17 Yoshimi Software Synthesizer 5.4 Chromatic Percussion its own instrument file. Here is how we did it to obtain instrument 118, the Melodic Tom. First, set up a presets directory to hold any presets one creates, and make it the default presets directory. For example, one can set this project’s yoshimi/presets directory as the default location for preset files. 1. Navigate to Menu / Settings... / Preset Dirs (a tab in the settings dialog). 2. Click the Add preset directory button. 3. Navigate to the desired directory, select it, click OK. 4. Select the new preset directory, then click the Make default button. 5. Press the Save and Close button. 6. Restart Yoshimi. Next, extract the Tom drum from the Natural Drum Kit for use as Melodic Tom GM patch: 1. Load the ”Natural Drum Kit” instrument. 2. Click Edit to bring up the overall editor dialog. 3. Then click the Kit Edit button. 4. Move to item 9, ”Tom”, and click the Edit button to access its ADDsynth settings (the Global dialog). 5. Press the blue C button in the ADDsynth Global dialog. 6. Next to the grayed-out Copy to Preset button, give the setting (to be saved) a name: ”Nat Drum ADDsynth Tom Part”. See the figure below. 7. Press the now active Copy to Preset button. 8. Depending on what dialog one is in when pressing the C button, the file will be save in the default preset directory under a name like demo.ADnoteParameters.xpz.

Figure 8: Copy to Clipboard Preset

18 Yoshimi Software Synthesizer 5.5 Eﬀects

One could then copy the demo.ADnoteParameters.xpz file to a file with a more descriptive name. Finally, the preset can then be loaded into a new instrument as follows: 1. Navigate to Menu / Instrument / Clear Instrument, and click Yes at the prompt. 2. Navigate to the desired settings dialog. In this case, it will involve clicking Edit, then the ADDsynth Edit button. 3. In the ADDsynth Global dialog, press the blue P button in that dialog, to open the Paste From Clipboard dialog. 4. Select the desired preset (that matches the current settings dialog). In this case, it will be demo.ADnoteParameters.xpz. 5. Press the Paste from Preset button. 6. Open the virtual keyboard using the virKbd button, and verify that the instrument sounds like the proper Tom kit item. 7. Go back to the Main edit dialog and change the Type to the best matching value; here, it would be Chromatic Percussion. Then fill in the Author and Copyright and Comments fields. 8. In the main Yoshimi window, right-click on the part name. In the prompt for Instrument name, type the name of the instrument/part; in this case, ”Melodic Tom”. 9. Navigate to Menu / Instrument / Save instrument.... Navigate to the desired directory, append the name (e.g. ”Melodic Tom.xiz”), and save it. It is wise to restart Yoshimi and verify that the new instrument can be loaded and played.

5.5 Eﬀects

This section documents the various ”eﬀects” instruments we’ve created.

5.5.1 Eﬀects / Dial Tones

We’ve created a nice dial-tone eﬀect that we’ll describe here. Dial tones consist of two notes, as shown by the Low F and High F columns in the following table.

Table 3: DTMF Frequencies Table

Tag DTMF Kit# MIDI# Low Low F Actual F High High F Actual F 1 1 5 53 F3 697 705 F5 1209 1245 2 2 6 77 F5 697 705 F5 1336 1337 3 3 7 89 F6 697 698 F5 1477 1468 4 4 8 55 G3 770 770 G5 - 1209 1236 5 5 9 79 G5 770 776 G5 - 1336 1334 6 6 10 91 G6 770 773 G5 - 1477 1462 7 7 11 57 A3 852 855 G#5 + 1209 1245 8 8 12 81 A5 852 868 G#5 + 1336 1327 9 9 13 93 A6 852 866 G#5 + 1477 1480 * 14 59 B3 941 948 A#5 + 1209 1257 0 0 15 83 B5 941 968 A#5 + 1336 1281 # # 16 95 B6 941 950 A#5 + 1477 1480 A A – – A2 697 — F5 1633 — B B – – B2 770 — G5 - 1633 — C C – – C2 852 — G#5 + 1633 — D D – – D2 941 — A#5 + 1633 —

19 Yoshimi Software Synthesizer 5.5 Eﬀects

b busy 2 71 B4 480 472 B4 - 620 622 r ringback 3 69 A4 440 440 A4 480 480 d dialtone 4 65 F4 350 350 F4 440 440

This table is implemented in a Yoshimi kit. Each note in the kit is created by making an ADDsynth instrument with two voices. The lower voice generally corresponds to the note being play, with an oﬀset, if needed, to achieve close to the proper frequency for the lower note of the DTMF tone. The second voice corresponds to the other note, and it is detune appropriately to achieve close to the proper frequency for the upper note of the DTMF tone. The following ﬁgure shows the kit dialog:

Figure 9: Kit Edit Dialog for DTMF Kit

To edit the kit, follow the steps below. If desired, open the instrument ﬁle yoshimi/banks/demo/DTMF Kit.xiz to save some work. 1. Open the kit editing window by clicking the Edit button in the bottom panel, and then clicking the Kit Edit button in the edit window. 2. Make sure that the Mode is set to Single. 3. Make sure that the Drum mode is enabled. 4. For all 16 kit items, make sure that the FX.r selections are set to OFF. 5. For kit items 2 to 16, enable the the ADsynth check-box. 6. For kit items 2 to 16, perform the following procedure to set up the two frequencies correctly as per the table above: 1. In the kit editor, click the Name ﬁeld and enter the name of the DTMF tone item being edited.

20 Yoshimi Software Synthesizer 5.6 Piano

2. In the kit editor, set Min.k and Max.k to the value of the note that is less than or equal to the lower note of the item listed in the table. 3. Click the ADDsynth edit button. 4. Click on the Show Voice Parameters button. Note that it is Current Voice 1, and it should be enabled. 5. Given the frequency for the note being edited, detune voice 1 to achieve the desired lower frequency. 6. Change to voice 2, and enable it. 7. Given the frequency for the note being edited, detune voice 1 to achieve the desired higher frequency. The ”Actual F” values were verifed using 24-Hz resolution (at 1200 Hz) in the spectrum analyzer built into Audacity. Sometimes it took a few tries to get the best possible frequency. We could list the detuning values in a table; for now, you can see the values we ended up using. The following ﬁgure shows the layout on the Yoshimi virtual keyboard:

Figure 10: DTMF Layout on the Keyboard

5.6 Piano

TODO.

5.7 Leads

TODO.

5.8 Guitar

Yoshimi ships with some mediocre acoustic and steel guitar patches, but some amazing distortion guitars. We decided to try our hand at a 12-string guitar.

5.8.1 Guitar / 12-String

A 12-string guitar has pairs of strings, with each member of a pair an octave apart in frequency, for all strings but one. We’ve provided two versions of an attempt at a 12-string. The ﬁrst 12-string simulation is stored in yoshimi/banks/demo/Low Octave 12-String Guitar Harms.xiz. This patch provides one voice only, but the Voice Oscillator provides the fundamental and two harmonics. In this oscillator, H.md is set to Pow. Base F. is set to Pulse. Voice 1 also enables the Filter

21 Yoshimi Software Synthesizer 5.9 Strings

Params to get a more acoustic sound. Still sounds a bit harpsichordy. Probably both strings need to be more complex. The second 12-string simulation is stored in yoshimi/banks/demo/Unison 12-String Guitar Harms.xiz. This version is similar to the previous 12-string, but, in voice 1, Unison is enabled, and vibrator and phase randomness are added. This version sounds signiﬁcantly richer.

5.9 Strings

(individual and ensemble) TODO.

5.10 Bass

TODO.

5.11 Saxophones

TODO.

6 Banks and General MIDI

Banks are discussed quite heavily in the user manual [15]. Banks have evolved quite a bit in Yoshimi, and are a powerful way to manage instruments, and more amenable to automation than ever. In this section, we will attempt to set up a basic bank that is compliant with the General MIDI speciﬁca- tion. In order to do so, we will cherry pick instruments from the package that is provided when Yoshimi is installed, renaming them as needed to ﬁt into the appropriate General MIDI slot, and add our own instruments and some others we have found. One problem with Yoshimi instruments is the selection of the best instrument for a given General MIDI program number. There are simply too many to be able to evaluate them all. For this recipe, the banks and presets will be stored in the following directories of this project:

yoshimi/banks yoshimi/banks/demo yoshimi/banks/gm-basic yoshimi/presets

The user should set up these directories using the Yoshimi directory menu entries.

22 Yoshimi Software Synthesizer 6.1 Creating a Basic GM Bank

6.1 Creating a Basic GM Bank

Creating even a basic General MIDI bank is beset with issues, even if one has at hand a large number of pre-built instruments. First, what is the purpose of the General MIDI specification? To provide a dependable set of instruments so that tunes will sound basically similar on different GM-compliant synthesizers. That’s about it. It doesn’t guarantee that the sounds are consistent, nor does it guarantee that they are all of high quality. The ”FX”, ”Lead”, and ”Pad” instruments provide ambiguous descriptions that a wide range of sounds might fit. Getting a complete and high-quality set of sounds is extremely difficult. Second, evaluating a large number of pre-built Yoshimi and ZynAddSubFX instruments takes a lot of work. We’d done some of this work for another project, and never finished. Nor is the naming of such instruments all that helpful; many of the file-names are misleading. Finding decent matches for a GM instrument takes time. Third, there are many GM instruments for which we’ve been able to find no good ZynAddSubFX/Yoshimi counterpart. The only options are to pick a tolerable match, build a tolerable match oneself, or just plug in any old sound and wait for others to step up. Nonetheless, let’s forge ahead. The project file contrib/instrument.ods is a LibreOffice spreadsheet that represents some research in finding GM-compatible instruments. It’s pretty bad; maybe 50% useful. We converted it to contrib/gmcopy to copy the files into the project directory yoshimi/banks/gm/basic. We show the banks in table 6.1 for convenience. Table 4: GM Basic Files

General MIDI Instrument Yoshimi Instrument Used 0001-Acoustic Grand Piano SynthPiano/0033-Analog Piano 1 0002-Bright Acoustic Piano SynthPiano/0034-Analog Piano 2 0003-Electric Grand Piano SynthPiano/0143-Space Piano 0004-Honky-tonk Piano SynthPiano/0068-Synth Piano 3 fat 0005-Electric Piano 1 Rhodes/0002-DX Rhodes 2 0006-Electric Piano 2 Rhodes/0007-Dig Rhodes 0007-Harpsichord olivers100/0026-Harpsichord 0008-Clavinet Misc Keys/0060-Clavinet 1 0009-Celesta Bells/0002-Music Box 0010-Glockenspiel Bells/0011-Glass bells 0011-Music Box Bells/0013-Tiny bells 0012-Vibraphone Chromatic Percussion/0045-Vibes no trem 0013-Marimba Chromatic Percussion/0056-FM marimba 0014-Xylophone Will Godfrey Collection/0001-Xylophone 0015-Tubular Bells Chromatic Percussion/0097-Marimba 3 0016-Dulcimer Plucked/0004-Plucked 4 0017-Drawbar Organ Organ/0001-Organ 1 0018-Percussive Organ Organ/0012-Organ 12 0019-Rock Organ Organ/0068-Square Organ 0020-Church Organ Organ/0061-Great Organ 0021-Reed Organ Reed and Wind/0039-Reed 7 0022-Accordion Organ/0097-Accordion Pad 1 Continued next page

23 Yoshimi Software Synthesizer 6.1 Creating a Basic GM Bank

General MIDI Instrument Yoshimi Instrument Used 0023-Harmonica Reed and Wind/0099-Sharp Reed 0024-Tango Accordion Organ/0101-Accordion 1 0025-Acoustic Guitar nylon Piano/0144-Soft Piano1 0026-Acoustic Guitar steel Guitar/0065-Clean Guitar1 0027-Electric Guitar jazz Guitar/0066-Electric Guitar 0028-Electric Guitar clean Guitar/0133-Smooth Guitar 0029-Electric Guitar muted Guitar/0035-Short 0030-Overdriven Guitar Guitar/0042-Trash Guitar 3 0031-Distortion Guitar Guitar/0005-Dist Guitar 5 0032-Guitar harmonics Laba170bank/0028-PianoBell 0033-Acoustic Bass Will Godfrey Collection/0045-Steel Bass 0034-Electric Bass ﬁnger Bass/0009-Electric bass 1 0035-Electric Bass pick Bass/0041-Electric Bass 0036-Fretless Bass Bass/0050-Fretless Bass 0037-Slap Bass 1 Rhodes/0042-Hard Rhodes1 0038-Slap Bass 2 olivers-100/0018-Bass Guitar - Slap 0039-Synth Bass 1 Bass/0013-FM rubber bass 0040-Synth Bass 2 Bass/0024-Moog bass 0041-Violin Strings/0051-Synth Violin 2 Fat 0042-Viola Strings/0051-Synth Violin 2 Fat 0043-Cello Strings/0051-Synth Violin 2 Fat 0044-Contrabass Bass/0005-Bass 5 0045-Tremolo Strings Strings/0001-Saw Strings 1 0046-Pizzicato Strings Strings/0003-Saw Strings 3 0047-Orchestral Harp Pads/0065-Soft Pad 0048-Timpani Noises/0018-Gun 0049-String Ensemble 1 VDX/0065-Strings 0050-String Ensemble 2 folderol collection/0029-Full Strings 0051-Synth Strings 1 Strings/0010-Strings Pad1 0052-Synth Strings 2 Strings/0014-Strings Pad5 0053-Choir Aahs Choir and Voice/0001-AHH Choir 1 0054-Voice Oohs Choir and Voice/0004-Voice OOH 0055-Synth Voice Choir and Voice/0005-Choir Pad1 0056-Orchestra Hit Misc/0010-Industrial orchestra 0057-Trumpet Leads/0027-Prophet horn 2 0058-Trombone Brass/0033-Analog Brass 1 0059-Tuba Brass/0001-FM Thrumpet 0060-Muted Trumpet Synth/0001-Soft Synth 1 0061-French Horn Brass/0034-Analog Brass 2 0062-Brass Section Brass/0007-Synth Brass 5 0063-Synth Brass 1 Brass/0003-Synth Brazz 1 0064-Synth Brass 2 Brass/0004-Synth Brazz 2 0065-Soprano Sax Reed and Wind/0066-Fat Reed2 0066-Alto Sax Reed and Wind/0065-Fat Reed1 0067-Tenor Sax Reed and Wind/0037-Reed 5 0068-Baritone Sax Reed and Wind/0099-Sharp Reed Continued next page

24 Yoshimi Software Synthesizer 6.1 Creating a Basic GM Bank

General MIDI Instrument Yoshimi Instrument Used 0069-Oboe Reed and Wind/0040-Reed 8 0070-English Horn Brass/0034-Analog Brass 2 0071-Bassoon Will Godfrey Collection/0102-Bassoon 0072-Clarinet Reed and Wind/0006-Clarinet 0073-Piccolo Will Godfrey Collection/0071-Ocarina 0074-Flute Will Godfrey Collection/0057-Soft Flute 0075-Recorder Will Godfrey Collection/0059-Ocarina 0076-Pan Flute Will Godfrey Collection/0127-Pan Pipe 0077-Blown Bottle Will Godfrey Collection/0125-Bottle 0078-Shakuhachi Will Godfrey Collection/0125-Pan Pipe 32 0079-Whistle Will Godfrey Collection/0027-Ghost Whistle 0080-Ocarina Flute/0071-Ocarina 0081-Lead 1 square Leads/0022-Square lead 0082-Lead 2 sawtooth Louigi Verona Workshop/0008-saw-lead 0083-Lead 3 calliope Leads/0018-Sine lead 0084-Lead 4 chiff chip/0018-Chiffer Chip 0085-Lead 5 charang Louigi Verona Workshop/0001-progressive-lead-1 0086-Lead 6 voice Choir and Voice/0067-Vocal Morph 3 0087-Lead 7 fifths chip/0017-SuperSquare1 0088-Lead 8 bass lead Strings/0157-Dual Strings Oct2 0089-Pad 1 new age Pads/0028-Ethereal 0090-Pad 2 warm Will Godfrey Companion/0019-Warm Square Swell 0091-Pad 3 polysynth Dual/0065-Dream of the Saw 0092-Pad 4 choir Alex J/0100-Choir Pad 0093-Pad 5 bowed The Mysterious Bank/0004-trance strings pad 0094-Pad 6 metallic The Mysterious Bank/0011-dreaming bells 0095-Pad 7 halo Alex J/RadioPulsePad 0096-Pad 8 sweep Pads/0011-lightbeam 0097-FX 1 rain The Mysterious Bank/0037-the rain 0098-FX 2 soundtrack The Mysterious Bank/0038-falling stars 0099-FX 3 crystal Will Godfrey Companion/0006-Tinkle Bell 0100-FX 4 atmosphere The Mysterious Bank/0038-the starting machine 0101-FX 5 brightness Noises/0014-droplets for chords 0102-FX 6 goblins Noises/0002-Ioioioioioi 0103-FX 7 echoes Noises/0072-Cave Gates 0104-FX 8 sci-fi The Mysterious Bank/0031-etrange sound 0105-Sitar olivers-100/0019-FM Sitar 0106-Banjo olivers-100/0016-Banjoey 0107-Shamisen Plucked/0034-Plucked String2 0108-Koto Plucked/0003-Plucked 3 0109-Kalimba Plucked/0001-Plucked 1 0110-Bagpipe Reed and Wind/0033-Reed 1 0111-Fiddle Laba170bank/0055-DevilsFiddle2 0112-Shanai Reed and Wind/0035-Reed 3 0113-Tinkle Bell Bells/0011-Glass bells 0114-Agogo The Mysterious Bank/0028-snare Continued next page

25 Yoshimi Software Synthesizer 6.2 Root Paths

General MIDI Instrument Yoshimi Instrument Used 0115-Steel Drums olivers-100/0029-Steel Drums 0116-Woodblock The Mysterious Bank/0028-snare 0117-Taiko Drum The Mysterious Bank/0028-snare 0118-Melodic Tom demo/Melodic Tom from Nat drum kit 0119-Synth Drum The Mysterious Bank/0028-snare 0120-Reverse Cymbal The Mysterious Bank/0028-snare 0121-Guitar Fret Noise The Mysterious Bank/0028-snare 0122-Breath Noise The Mysterious Bank/0028-snare 0123-Seashore Noises/0008-Wind and Surf 0124-Bird Tweet The Mysterious Bank/0028-snare 0125-Telephone Ring The Mysterious Bank/0028-snare 0126-Helicopter The Mysterious Bank/0028-snare 0127-Applause The Mysterious Bank/0028-snare 0128-Gunshot Noises/0018-Gun 0129-Drum Kit C Ahlstrom/Natural Drum Kit Basic End of table

Presumably, this basic bank could be improved enough to be useful for most music. Alternative (and better) banks could be created, as well. One thing to note about the instruments. When copied from the original directory to the gm-basic directory, each instrument copied retains its name, of course. To make it less confusing to use in Yoshimi, then, one should rename each instrument to its GM name. To do that, right click on the name, change it, and then save the instrument to the same ﬁle from which it was loaded. Be careful! It is easy to make a mistake! And we have not yet renamed any of them!

6.2 Root Paths

The ﬁrst thing to do is to add the yoshimi-cookbook banks directory to your setup. Run Yoshimi, and navigate the following user-interface path: Menu / Instrument / Show Root Paths ... Then click Add root directory.... Navigate to where the yoshimi-cookbook project is stored and add the yoshimi/banks directory. The result should be something like the following:

26 Yoshimi Software Synthesizer 6.2 Root Paths

Figure 11: Bank Root Paths

Click on the new directory. It has ID = 3 in that diagram. We will refer to this value as the ”banks path”. Now click the Make current button. Verify that it now has the asterisk. Click the Save and Close button. Now let’s open the ”gm-basic” bank. Run Yoshimi, and navigate the following user-interface path: Menu / Instrument / Show Banks ... In the matrix of banks, you should see ”gm-basic” somewhere. (We also have a ”demo” bank in place.)

Figure 12: Two Banks, Demo and Basic GM

Click on the ”gm-basic” bank. The larger dialog below will be shown. Note that this action also makes ”gm-basic” the current bank. This setting will be preserved across a restart of Yoshimi.

27 Yoshimi Software Synthesizer 6.3 Using a Basic GM Bank

Figure 13: A General MIDI Basic Bank

Remember that these banks have GM names; the original ﬁles used to create each one are listed in the spreadsheet mentioned in the previous section. Also note the drum kit, with an ID of 129. Normally, drum kits might be stored in a bank of drum kits, but here we have a GM-compliant drum kit, compliant in the sense that most of the keys are mapped correctly, and all of the keys will play something.

6.3 Using a Basic GM Bank

Once the current root path has been set (e.g. to .../yoshimi-cookbook/yoshimi/banks) and the current bank has been set (e.g. to gm-basic), then a MIDI ﬁle can select instruments 1 to 128 from the current bank using a Program Change event followed by the desired instrument’s number re 0. The bank and root paths can be saved in the Yoshimi state. But the MIDI ﬁle can also start with bank-selection events, and change the current bank using Bank Select LSB (CC32) and Bank Select MSB (CC0) events.

28 Yoshimi Software Synthesizer

7 Converting Tunes for Yoshimi Playback

This section explains various methods for converting tunes to play in Yoshimi, plus some concrete methods for conﬁguration Yoshimi and taking advantage of its newer capabilities. We will subdivide this section by tunes converted.

7.1 Tune / ”Before You Accuse Me”

This file describes the importing an old (circa 1996) Cakewalk transcription, a rendering of Eric Clapton and Robert Cray from a transcription that someone gave to me to try out. It was originally transcribed to fit the Yahama PSS-790 [5] consumer-level keyboard, as we recall (it was years and years ago.) First, let us run the b4uacuse.mid MIDI file as is through the TiMidity++ [12] software synthesizer:

$ timidity b4uacuse.mid Format: 1 Tracks: 14 Divisions: 120 Track name: PSS-790 Patchin Track name: Guitar 1 (E.C.) Track name: Guitar 2 (R.C.) Track name: Vocal Track name: Rhythm (Chords) Track name: Bass Guitar Track name: Drums Track name: Chris Ahlstrom Track name: (GEnie: KICKAHA Track name: "Before You Track name: Accuse Me" by Track name: Eric Clapton & Track name: Robert Cray No instrument mapped to tone bank 0, program 12 - this instrument will not be heard No instrument mapped to tone bank 0, program 87 - this instrument will not be heard

Our /etc/timidity/timidity.cfg file specifies the /etc/timidity/freepats.cfg file. In this file, we see that bank 0 does not define the three patch numbers that are noted as missing above and below: 12, 62, and 87. Patch 12 on the PSS-790 is Marimba, but is mapped to GM Jazz Guitar (Elec. Guitar jazz). In TiMidity++ freepats, this is patch 26. Patch 0 is mapped to patch 62, which is Synth Brass 1 in GM; the closest in TiMidity++ freepats is patch 61 Brass Section. Patch 87 on the PSS-790 is Lead 8 (bass+lead) which gets mapped to Flugelhorn (English Horn). The tune sounds reasonable, but obviously is not scored correctly. Let us use midicvtpp [4] to convert it to good (we hope) GM format:

$ midicvtpp --m2m GM_PSS-790_Multi.ini -i b4uacuse.mid -o b4uacuse-gm-1.mid or, for more output information:

29 Yoshimi Software Synthesizer 7.1 Tune / ”Before You Accuse Me”

$ midicvtpp --m2m GM_PSS-790_Multi.ini \ --summarize b4uacuse.mid b4uacuse-gm-1.mid 2> summary.txt

The command creates a ﬁle that has only one ”error” message and plays pretty well in Timidity:

No instrument mapped to tone bank 0, program 62 - this instrument will not be heard

Again, note that patch 62 is a Synth Brass 1 patch. We cannot tell what the target voices of the PSS-790 were, and what they were converted to. That sounds like a feature to add to the midicvtpp program! Done, in version 0.4.0! We can go forward with the GM MIDI bank we have created for Yoshimi. Take a look at the file sequencer64/b4uacuse/summary.txt in this project. It is used in the patch descriptions here. The next step is to see how these patches map to our preliminary Yoshimi GM bank. We have three ways to go for patching: 1. Keep the program-change track(s) and use them to select instruments. 2. Move each program-change to the appropriate track. 3. Remove all program-change events and rely on a Yoshimi state file to set up. The disadvantage of keeping the program changes: 1. They are currently spread out in three different tracks, as can be seen by opening the b4uacuse- gm-1.mid file in Sequencer64 and viewing the ”PSS-790 Patch”, ”Chris Ahlstro”, and ”(GEnie: KICKA” tracks using the Event Editor. 2. They make it difficult to remix the song for playback on various synthesizers other than Yoshimi. 3. At least in Yoshimi, it becomes more difficult to change the instruments used. 4. They take away a chance to learn how Yoshimi state works. On the other hand, it will be interesting to add program changes to the tune and see how Yoshimi handles it these days. Later. So let us take b4uacuse-gm-1.mid, trim out the patch tracks and empty tracks, recreate the layout of the song editor, and save it as b4uacuse-gm-patchless.midi (a Sequencer64 format). Here are the tracks, and their putative GM instruments as numbered in our GM bank:

Track 0: Guitar 1 (E.C.) #26 Acou. Guitar (steel) Track 1: Guitar 2 (R.C.) #27 Elec. Guitar (jazz) Track 2: Bass Guitar #34 Elec. Bass (finger) Track 3: Drums Drums Track 4: Vocal #70 English Horn Track 5: Rhythm (Chords) #4 Honky-tonk Piano

See summary.txt to see what conversions were made by midicvtpp. We go to Yoshimi / Menu / Patch Sets / Show Patch Banks... and look at the banks. We select 116. gm-basic. This bank has passable (in most cases) equivalents to GM instruments, plus a drum kit at program number 129 (an extended program number).

30 Yoshimi Software Synthesizer

We will set the channels to ”track + 1” (channels are counted from 1), except for drums, which go to channel 10. We enable each Yoshimi Part. We note the name (in quotes) of the corresponding Yoshimi patch. Yoshimi parts are taken from the gm-basi c bank (”116. gm-basic”):

Track 0, Ch. 1: Guitar 1 (E.C.) #26 Acoustic Guitar (steel) ("Clean Guitar 1") Track 1, Ch. 2: Guitar 2 (R.C.) #27 Electric Guitar (jazz) ("Electric Guitar") Track 2, Ch. 3: Bass Guitar #34 Electric Bass (finger) ("Electric bass 1") Track 3, Ch. 10: Drums #129 Drum Kit ("Natural Drum Kit from DS 2") Track 4, Ch. 5: Vocal #70 English Horn ("Analog Brass 2") Track 5, Ch. 6: Rhythm (Chords) #4 Honky-tonk Piano ("Synth Piano 3 fat")

Note that The bank must be installed in ~/.config/yoshimi-cookbook/banks or in a root path setup as in section 6.2(”Root Paths”) on page 26. After setting up each Track/Part/Channel, we played the tune, using ALSA, and adjusted the volume of some of the parts while playing it through buss 5 (where Yoshimi sets up on our system) via the command

$ sequencer64 --bus 5 b4uacuse-gm-patchless.midi

We then saved the entire state of Yoshimi to /.config/yoshimi/yoshimi-b4uacuse-gm.state via Menu / State / Save .... We reload this ﬁle via

$ yoshimi -a -A --state=yoshimi-b4uacuse-gm.state to verify that it still works. We ended up switching to JACK playback for recording the audio:

$ sequencer64 -J b4uacuse-gm-patchless.midi $ yoshimi -j -J --state=yoshimi-b4uacuse-gm.state and avconv (ﬀmpeg) for converting it to an MP3 ﬁle that one can listen to without loading up all this software.

8 Usage Notes

This section contains some notes about usage and settings we’ve collected that don’t ﬁt anywhere else. These notes come from http://www.freelists.org/list/yoshimi. To post to the list, email to: [email protected] The archive of the old SourceForge mailing list is found at: https://www. freelists.org/archive/yoshimi.

31 Yoshimi Software Synthesizer 8.1 Notes / Instrument Design

8.1 Notes / Instrument Design

From user ”Ichthyostega”:

I find it difficult to balance or voice an instrument design such that it ”runs well” when used in composition over various octaves. With some designs, the descant dominates, while in other cases the bass dominates. When I play a chord over several octaves, or have several lines at the same time, they show a different weight and are not well balanced out. Of course, I can somewhat fix that by giving the individual notes different velocities or use several MIDI channels with different volume settings. But I rather consider this the job of instrument design: it should come out well balanced out of the box.

Will answers:

First off, the way the sound engines work involves a degree of modelling whereby sound energy tends to decrease with increasing frequency. This was a deliberate choice made by Paul when he designed them, intending to more-or-less emulate real instruments. It’s been a minor nuisance to me occasionally, but to a degree you can get round it by fiddling the Resonance graph (not SubSynth). You can also set filters to LPF1 with Q to zero and C.freq to max. Any waveform with little harmonic content will tend to sound quieter at lower frequencies, while the amplitude is actually pretty constant. Simple Sound is a classic example of that. Fades across a instruments in a kit has been mentioned before. I had a look at it some time ago, and it is actually an extremely difficult problem. If there were only two possible kit items it would ’just’ be hard – across potentially 16 is in the nightmare realm!

9 Sequencers

This section discusses the basic usage of some sequencers with Yoshimi. Some sequencers support ALSA MIDI, some support JACK MIDI, and some support both. This section provides some use cases and pointers that cover a range of sequencers. Note that this section depends on having one’s Banks/Roots directories set up properly. It is important to make sure that there is a default ”presets” directory present. So far, we demonstrate only Sequencer64. Others to try in the near future: Rosegarden, Qtractor, Ardour, MuSE, LMMS.

9.1 Sequencers / Sequencer64

Sequencer64 is our fork/reboot of the Seq24 project [7]. It currently fixes some bugs in Seq24, adds a few useful features, a little more color, and refactors the code. Much of the advice in this section will apply to Seq24, with some minor differences, such as the locations and names of the configuration files. However, Seq24 doesn’t have a buss-override option. Note that the two Sequencer64 configuration files are:

~/.config/sequencer64/sequencer64.rc ~/.config/sequencer64/sequencer64.usr

The simplest thing to do for this cookbook is

Make sure these ﬁles do not exist; save the old versions somewhere and then delete the two ﬁles. Then start Sequencer64.

32 Yoshimi Software Synthesizer 9.1 Sequencers / Sequencer64

Then immediately exit it.

New versions of those files will appear, and we can start with a clean slate. We will edit those files, as that is a bit more foolproof than using command-line options. The ”rc” is the most important file, but there are configuration items in the ”usr” (”user”) file that can make Sequencer prettier, and a couple options that can affect playback. We’ll point out the necessary values when needed.

9.1.1 Sequencers / Sequencer64 / ALSA

Skip this section if all that matters for one’s setup is JACK support. Otherwise, first make sure that JACK is not running. Next, remove the ”rc” and ”usr” files from the configuration directory, as noted in the previous section. Then open up a console window (terminal) and run Yoshimi in ALSA audio and ALSA MIDI modes:

$ yoshimi -a -A

Now, run Sequencer64, and check the new versions of those ﬁles, as noted in the previous section. On our computer, with Timidity installed, we see the following ALSA entries in the sequencer64.rc ﬁle:

# Output buss name: [0] 14:0 Midi Through Port-0 0 0 # buss number, clock status # Output buss name: [1] 128:0 TiMidity port 0 1 0 # buss number, clock status # Output buss name: [2] 128:1 TiMidity port 1 2 0 # buss number, clock status # Output buss name: [3] 128:2 TiMidity port 2 3 0 # buss number, clock status # Output buss name: [4] 128:3 TiMidity port 3 4 0 # buss number, clock status # Output buss name: [5] 129:0 input 5 0 # buss number, clock status

The last entry in that list is ”129:0 input”, which corresponds to Yoshimi. Note that the Sequencer64 application will ﬁnd the actual name of the device (e.g. ”129:0 Yoshimi Port 0”). While we’re in the ”rc” ﬁle, let’s make sure of the following settings:

1 # show sequence numbers (1 = true / 0 = false)

[manual-alsa-ports] 0 # flag for manual ALSA ports

The ﬁrst setting enables showing the sequence number in empty slots in the main window. (This setting really belongs in the ”user” ﬁle!) The second setting disables manual setup of the ALSA MIDI ports. Sequencer64 will determine the ports that exist on the system.

33 Yoshimi Software Synthesizer 9.1 Sequencers / Sequencer64

In the ”user” file, we want to set the buss number to 5, to match our current ALSA setup. It may differ on your system. If it is 0, you don’t have to do the next step. Nor is it needed for running with JACK (discussed later). Open the ”user” file and make sure the following setting matches the location of Yoshimi’s MIDI input port on your system (it is 5 on ours):

5 # midi_buss_override

Now open a MIDI file, verify that the correct buss value is shown, and that the file plays and is audible. If this is the case, one is done. If not, please read the Sequencer64 user’s manual ([8]). Note that, generally, the ”midi buss override” value should be set to ”-1”. We use it here as a convenience for our demonstration. Also, one can load a preset/patch-set file from the command line, as shown here:

$ yoshimi -a -A --load=/home/user/.../yoshimi-cookbook/yoshimi/examples/Out_There.xmz Yoshimi is starting ConfigFile /home/user/.config/yoshimi/yoshimi.config not found, will use default settings Missing bank file Scanning for banks Missing history file March little endian = 1 Format = Signed Little Endian 32 Bit 2 Channel Using alsa_audio for audio and alsa_midi for midi pLoaded Out_There parameters Yoshimi 1.3.9 rc3 Clientname: yoshimi Config: Audio: alsa -> ’default’ Midi: alsa -> ’default’ Oscilsize: 512 Samplerate: 48000 Period size: 256

Yay! We’re up and running :-)

Now go to section 9.1.3(”Sequencers / Sequencer64 / ”Out There””) on page 36. Load up a sample song and patch-set, and play it.

9.1.2 Sequencers / Sequencer64 / JACK

Now let’s repeat our setup using JACK. However, note that, while Sequencer64 supports JACK syn- chronization and can serve as a JACK Master, it’s MIDI support is purely ALSA-based. Therefore, an ALSA-to-JACK bridge program must be run to expose the MIDI ports to JACK. Before continuing, make sure the Sequencer64 ”rc” and ”usr” files reflect the following settings, which are different than those described in the ALSA section above. First, the ”rc” file:

34 Yoshimi Software Synthesizer 9.1 Sequencers / Sequencer64

1 # show sequence numbers (1 = true / 0 = false); ignored in legacy [manual-alsa-ports] 0 # flag for manual ALSA ports (--manual-alsa-ports)

Manual ALSA ports can be turned on, but that results in 16 additional Sequencer64 MIDI ports being created; the MIDI Through port will be enough for now, since we’re using only one synthesizer, Yoshimi, for sound generation. Next, the ”usr” ﬁle:

-1 # midi_buss_override (--bus n)

(If the buss is set properly, as above, in the ~/.config/sequencer64/sequencer64.usr ﬁle, there is no need for the --bus option on the command line.) Now run the following series of commands, from a console window:

$ qjackctl & $ a2jmidid --export-hw & $ sequencer64 & $ yoshimi -j -J

In qjacktrl, in the Audio tab, connect ”yoshimi” on the left with ”system” on the right.

Figure 14: Yoshimi Audio Connection, JACK

In the MIDI tab, connect a2j’s ”Midi Through [14] (capture)...” port on the left to yoshimi-01’s ”midi in” port on the right.

35 Yoshimi Software Synthesizer 9.1 Sequencers / Sequencer64

Figure 15: Yoshimi MIDI Connection, JACK

Now go to section 9.1.3(”Sequencers / Sequencer64 / ”Out There””) on page 36. Load up a sample song and patch-set, and play it.

9.1.3 Sequencers / Sequencer64 / ”Out There”

In this section, we set up and run a demo ﬁle and patch-set ﬁle provided with Yoshimi. Let’s start from scratch.

9.1.3.1 Initial Installation

1. Install Yoshimi from a package manager or from source code. 2. Install ZynAddSubFx from a package manager or from source code. This action gets us more instrument banks. 3. Clone the yoshimi-cookbook [16] project from GitHub. 4. Clone the sequencer64 [7] project from GitHub.

9.1.3.2 Start from Scratch

Remove any existing Yoshimi conﬁguration.

$ cd ~/.config $ mv yoshimi/ yoshimi-orig

Start Yoshimi:

$ yoshimi --version Yoshimi is starting ConfigFile /home/user/.config/yoshimi/yoshimi.config not found, will use default settings

36 Yoshimi Software Synthesizer 9.1 Sequencers / Sequencer64

Missing bank file Scanning for banks Missing history file Yoshimi 1.3.9

This ”ﬁrst start” results in the creation of ~/.config/yoshimi and an empty ~/.config/yoshimi/presets directory.

9.1.3.3 Load Example XMZ File

The next step in this demonstration is to load a parameters (patch-set) ﬁle. We pick the parameters ﬁle provided by the Yoshimi source-code package for the ”Out There” project. We show the command-line Yoshimi in ALSA mode for simplicity:

$ yoshimi -a -A --load=/home/user/.../yoshimi-cookbook/yoshimi/examples/Out_There.xmz

Remember that Yoshimi cannot find the parameters file if /home/user part is replaced with ~. This action results in additional files created in ~/.config/yoshimi: yoshimi.history, yoshimi.banks, yoshimi.windows. The history file contains a reference to the full path of the Out There.xmz file. The yoshimi.banks file is a gzip-compressed XML file that references the default bank-root (bank-root 0): /usr/share/yoshimi/banks or /usr/local/share/yoshimi/banks. It also defines prefix number for all of the banks (bank directories) that ship with Yoshimi. It also references the ZynAddSubFX bank location (if installed): /usr/share/zynaddsubfx/bank (bank-root 1). It defines bank numbers for all of the banks that ship with ZynAddSubFX. The yoshimi.windows file contains the locations of about 20 windows, such as ”master”, ”panel”, ”instruments”, ”SUBnote”, ”ADDnote”, and many more. The patch-set can also be loaded through the Yoshimi user-interface. In the Yoshimi / Patch Sets / Load External... menu, load the example Out There.xmz patch-set file file, and observe that the ”Angel Piano” instrument appears as Part 1.

9.1.3.4 Playing Out There

Run Yoshimi as above for either ALSA or JACK. Then run Sequencer64 as above for either ALSA or JACK. Sequencer64 converts the SFM 0 file, Out There.mid, to SMF 1 as it reads in the file. It also deposits the original SMF 0 track into the 16th slot, highlighted in a dark-cyan color. Delete this SMF 0 track by right-clicking on it and selecting the Cut menu entry. Arm (unmute) all of the tracks in the main window view of Sequencer64. This is done by simply left- clicking once on each slot. They are then shown with a black background. Play! Either click the play button or hit the spacebar. This setup can loop endlessly, and the differing lengths of the parts make it vary as it plays, forever. (Sequencer64 is a live-looping sequencer.) When done, don’t save either the Yoshimi parameters or the converted tune.

37 Yoshimi Software Synthesizer

yoshimi> exit System config has been changed. Still exit N/y? y

9.1.4 Sequencers / Sequencer64 / Adapting a Tune

We discuss the ”WPB” song here. This song had a patch-set that was no longer valid. Add /.conﬁg/yoshimi-cookbook/banks and make it the current bank.

9.1.5 Sequencers / Sequencer64 / Basic Composing

Finally, we are ready to add our own music, starting with a loop. In Sequencer64, right click on a pattern slot and select New. On the bottom of the new pattern window, select the left-most icon button, which shows a blue box pointing to a MIDI port (tooltip: ”Sequence dumps data to MIDI bus.”). Press the Space bar while in the main window or the pattern window to start the loop, and add notes.

Peculiarities of Sequencer64. First, if the pattern is empty the progress bar will not move. Second, to add a note, one must press the right button (the pointer changes to a pencil) and, while holding it, press the left mouse button. Or click in the pattern editor, press ”p” to select the pencil mode, then click/drag to add notes. Press ”x” to ”eXit” from that mode. Also remember that notes are drawn only with the length selected by the ”notes” button near the top of the pattern window. Again, see the Sequencer64 user manual for the gory details.

MORE TO COME!

10 Summary

In summary, we can say that you will absolutely love cooking with Yoshimi.

11 References

The Yoshimi cookbook reference list.

References

[1] Will J. Godfrey A discussion of making Bank/Root speciﬁcations more regular. http:// sourceforge.net/p/yoshimi/mailman/message/33200765/ 2014.

[2] Blair School of Music, Vanderbilt University. Creating a Simple Bell http:// computermusicresource.com/Simple.bell.tutorial.html 2012?

[3] FM 8 Tutorials Spectrum of a Simple Bell http://www.fm8tutorials.com/wp-content/uploads/ 2012/03/Bell-spectrum.png 2012?

38 Yoshimi Software Synthesizer REFERENCES

[4] Chris Ahlstrom midicvt/midicvtpp: MIDI Conversion Commands https://github.com/ ahlstromcj/midicvt/ A consolidation of a number of MIDI-to-ASCII conversion programs, plus a new MIDI-to-MIDI conversion mode useful for converting old device-speciﬁc MIDI ﬁles to General MIDI format. 2016.

[5] Ashley Pomeroy PSS-790 At a Glance http://www.sonicstate.com/synth/yamaha_pss-790/ A brief note about this consumer-level synthesizer. Undated.

[6] LinuxMusicians newsgroup Ring Modulation in ZynAddSubFX http://linuxmusicians.com/ viewtopic.php?f=1&t=8178 2012.

[7] Chris Ahlstrom. Sequencer64 https://github.com/ahlstromcj/sequencer64/ Sequencer64 is a reboot and extension of the Seq24 live sequencer. It has been signiﬁcantly refactored and upgraded, with many new features, bug ﬁxes, and even better JACK support. 2016.

[8] Chris Ahlstrom. The Sequencer64 User Manual. https://github.com/ahlstromcj/ sequencer64-doc/ Comprehensive documentation for Sequencer64. 2016.

[9] Manuel Op de Coul ¡[email protected]¿ The Scala Musical Tuning Application. http:// www.huygens-fokker.org/scala/ Scala is a powerful software tool for experimentation with musical tunings, such as just intonation scales, equal and historical temperaments, microtonal and macrotonal scales, and non-Western scales. 2014.

[10] Sharphall How to create drum sounds in ZynAddSubFX or Yoshimi, Part 1 http://sharphall. org/docs/zynaddsubfx_yoshimi_drum_tutorial.php Never got continued, unfortunately.

[11] Gordon Reid Synth Secrets: Creative Synthesis http://www.soundonsound.com/sos/ allsynthsecrets.htm 1999-2004.

[12] Masanao Izumo et al. TiMidity++ Software Synthesizer http://timidity.sourceforge.net/ 2004.

[13] Yoshimi team [email protected] The download site for the Yoshimi software synthesizer. http://yoshimi.sourceforge.net/ 2016.

[14] Yoshimi team The alternate location for the Yoshimi source-code. https://github.com/abrolag/ yoshimi/ 2016.

[15] Chris Ahlstrom A Yoshimi User Manual. https://github.com/ahlstromcj/yoshimi-doc/ 2016.

[16] Chris Ahlstrom A Yoshimi Cookbook. https://github.com/ahlstromcj/yoshimi-cookbook/ 2016.

[17] Barney Holmes (djbarney) Generating synthesised drums and percussion in Linux using Yoshimi or ZynAddSubFX. https://djbarney.wordpress.com/2013/10/27/ generating-synthesised-drums-and-percussion-in-linux-using-yoshimi/ 2013.

39 Index ALSA, 33 ring,5 Audacity, 21 natural drum bank bass drums, 16 GM, 27 cymbal, 16 banks, 22 hihats, 15 demo, 27 pitched toms, 16 gm-basic, 27 side stick, 16 bells,9, 11, 12 snare, 15 spectrum,9 toms, 16

C note, 11 power function, 15, 16 cent,4 pulse, 15, 16 comma key, 11 current bank, 27, 28 ring modulation,5,9 current root, 28 root, 26 root path, 26 directories demo bank,9, 22 Seq24, 32 demo presets, 22 Sequencer64, 32 GM basic bank, 22, 27 sequencer64.rc, 32 drum kit, 14, 28 sequencer64.usr, 32 steel drums, 13 eﬀects dial tone, 19 XML compression,3

ﬁles 12-string, 21, 22 bells 440, 11 bells addsynth, 10, 12 bells ring mod, 12 demo.ADnoteParameters.xpz,7, 18, 19 DTMF kit, 20 natural drums, 14 steel drums, 13, 14

General MIDI, 23 GM, 23 bank, 27 drum kit, 14, 28 spreadsheet, 23 table, 23 guitar 12-string, 21

JACK, 34 modulation